泼墨山水与材料表现
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摘要
“泼墨”在中国唐代时就已经出现，指画家先把墨泼洒在绢或墙壁上后，再根据墨迹进一步加工的创作方式。在文献记载中，最早进行“泼墨”尝试的画家是王墨。但是他并没有画作流传下来，我们能够看到的最早“泼墨”绘画是南宋画家的作品。然而，在传统中国画的发展中，我们可以发现，以“泼墨”方式进行创作的画家非常少。出现这种情况的原因是多方面的，但“泼墨”作品中缺乏中国画审美取向中最为注重的“笔墨”应该是最重要的原因之一。而造成“泼墨”有墨无笔的原因又和中国画所使用的固有材料密切相关。
同样，在西方艺术中，以“泼”为创作方式的绘画实践也要到20世纪中叶的抽象表现主义才出现。这同样也是和西方绘画所使用的材料特性有关联的。在中国，“泼绘”的出现也是在二十世纪六十、七十年代，张大干和刘海粟分别进行了“泼彩”实践，并取得了成功。他们能够进行这种尝试，又和西方艺术思想的影响有千丝万缕的联系。
从以上研究中可以看到，“泼”作为一种艺术创作方式，涉及到绘画动作、材料特性和艺术概念多方面因素。在现代，“泼”已经成为艺术创作的基本技巧之一，而我个人的绘画创作，也是以“泼”为主，并使用了不同于传统的材料。如何把一种绘画方式和材料特性更好的结合在一起，是我的研究课题。
"Pomo (splash-ink)" appeared as early as the Tang Dynasty of China, referring to a technique in which the painter first splashes ink onto the thin silk or wall, then goes on the creation according to the ink marks. In historic records, the earliest painter who attempted "splash-ink" was Wang Mo. However he did not have any works left to us, and the earliest "splash-ink" brushwork we can see now is the brushwork by painters in the Southern Song Dynasty. However, in the course of development of traditional Chinese painting, we can find very few painters who used the "splash-ink" technique to create artistic works. The reasons for that are many, but one of the most important reasons should be that the "splash-ink" works lack the "touch of brush and ink" which is most stressed in the aesthetical orientation of traditional Chinese painting. Moreover, the cause leading to "existence of ink but non-existence of the brushwork" in "splash-ink" is closely related to the special materials used in traditional Chinese painting.
Likewise, in Western art, the drawing practice taking "splash" as the way of creation only appeared in the abstract expressionism in the middle of the 20th century. It is related to the material characteristics in Western brushwork. In China, "splash-drawing" also appeared in the 1960's and 1970s. Zhang Daqian and Liu Haisu attempted this technique, and got success. The reason for them to practice such a technique in a try also has something to do with the influence of occidental art.
From the above research, we may find that, "splash", as a mode of artistic creation, involves many factors, such as movement in brushwork, material characteristics, art concept and so on. In modern times, "splash" has already become one of the basic skills of artistic creation. In my brushwork creation, I have also taken "splash" as the main, and used materials different from the conventional ones. My research subject is how to combine drawing mode with material characteristics better.
同样，在西方艺术中，以“泼”为创作方式的绘画实践也要到20世纪中叶的抽象表现主义才出现。这同样也是和西方绘画所使用的材料特性有关联的。在中国，“泼绘”的出现也是在二十世纪六十、七十年代，张大干和刘海粟分别进行了“泼彩”实践，并取得了成功。他们能够进行这种尝试，又和西方艺术思想的影响有千丝万缕的联系。
从以上研究中可以看到，“泼”作为一种艺术创作方式，涉及到绘画动作、材料特性和艺术概念多方面因素。在现代，“泼”已经成为艺术创作的基本技巧之一，而我个人的绘画创作，也是以“泼”为主，并使用了不同于传统的材料。如何把一种绘画方式和材料特性更好的结合在一起，是我的研究课题。
"Pomo (splash-ink)" appeared as early as the Tang Dynasty of China, referring to a technique in which the painter first splashes ink onto the thin silk or wall, then goes on the creation according to the ink marks. In historic records, the earliest painter who attempted "splash-ink" was Wang Mo. However he did not have any works left to us, and the earliest "splash-ink" brushwork we can see now is the brushwork by painters in the Southern Song Dynasty. However, in the course of development of traditional Chinese painting, we can find very few painters who used the "splash-ink" technique to create artistic works. The reasons for that are many, but one of the most important reasons should be that the "splash-ink" works lack the "touch of brush and ink" which is most stressed in the aesthetical orientation of traditional Chinese painting. Moreover, the cause leading to "existence of ink but non-existence of the brushwork" in "splash-ink" is closely related to the special materials used in traditional Chinese painting.
Likewise, in Western art, the drawing practice taking "splash" as the way of creation only appeared in the abstract expressionism in the middle of the 20th century. It is related to the material characteristics in Western brushwork. In China, "splash-drawing" also appeared in the 1960's and 1970s. Zhang Daqian and Liu Haisu attempted this technique, and got success. The reason for them to practice such a technique in a try also has something to do with the influence of occidental art.
From the above research, we may find that, "splash", as a mode of artistic creation, involves many factors, such as movement in brushwork, material characteristics, art concept and so on. In modern times, "splash" has already become one of the basic skills of artistic creation. In my brushwork creation, I have also taken "splash" as the main, and used materials different from the conventional ones. My research subject is how to combine drawing mode with material characteristics better.
引文